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Practical Recording Microphone Selection Guide

Capacitors and dynamic microphones are based on the design of the pickup cavity and are generally divided into two types: large diaphragms and small diaphragms. Both types are standard in the studio. The diaphragm microphone - developed in recent years - combines the sound characteristics of large and small diaphragm microphones. Large-diaphragm condenser microphones have a wide audience, and you can see it in many recording studios or studios. Whether it is vocals, strings, brass, percussion, you can use large diaphragm condenser wheat recording. The common choice of multi-directional large-diaphragm microphones in recording studios greatly increases work flexibility. There is also a large diaphragm dynamic microphone that can well capture and strengthen the bass. It has outstanding performance for male voices, and it can also have miraculous effects at the time of picking up drums and kick drums. The diaphragm products have been relatively vague so far. There have been large and small diaphragm microphones in history, but the diaphragm was added later. The diaphragm size of diaphragm microphones has always been controversial and there is no need to dig into it. Most industry experts and manufacturers agree that microphones with diaphragm sizes between 15.8mm and 19mm are medium diaphragm microphones. The diaphragm's transient response is good for picking up high-frequency content (just like small diaphragms), while providing a more rounded, warm sound like a large diaphragm. For beginners, small diaphragms are often hidden under the shadow of their large diaphragm microphones. In fact, small diaphragm microphones have a wider range of applications and they have a greater beats by dre demand in many applications. Their precise and accurate cheap beats response power comes from smaller and lighter diaphragms. It is undoubtedly suitable for acoustic guitars, cymbals, harp or other instruments with strong transient response and harmonic components.

However, when recording for a drum kit, the placement of the microphone requires a lot of experience: you need to ask the drummer to play and listen. Divert the microphone and hear it again until it feels almost the same. Then sit in the control room and send your assistants to continue to move them (if you have assistants). With some experience, the process becomes pipelined: You will know what microphones you want and where they should be placed. Of course this is just a reasonable starting position for placing the microphone. beats solo The most professional recording engineer will also change the placement because of whim. Do not think too much, at least need a dynamic microphone, put it in front of the box, close to something. If you want to use a large-diaphragm condenser microphone, remember to put it a bit farther. If the volume of the speaker is too loud, turn on the microphone switch. You can mix the sound of each beats by dre microphone through the mixing console, and track the tracks if the overall recording is not ideal. If you want to record a guitar in the same period and put the guitar amp in another room, you don't need to worry about the dribble. Assuming that the speakers are placed in a suitable room, an omnidirectional or omnidirectional condenser microphone can be used. Of course, when using more than two microphones, remember to pay attention to the phase relationship between them.